Modern Vampires of the City is perhaps the catchiest, most joyous-sounding album to explore death that I have ever heard. The third release from collegiate prep rockers Vampire Weekend shows emotional and musical growth as lead singer Ezra Koening struggles with his own mortality.
Level Up's title is a video game reference, but it is also a metaphor for accepting responsibility and gaining maturity as one ages, which are qualities that Dennis Ouyang needs serious help with.
From the first time Dennis ever saw a Pac Man console as a child, he was mesmerized by the power that video games had. The idea of endless entertainment, based on skill and incredibly interactive, transfixes him.
Niño is one remarkable little boy. He may look like an ordinary child playing with his toys. When he picks up his red mask though, Niño Wrestles the World.
She'll Be Coming 'Round the Mountain takes the popular folk song to new heights of silliness. A serenading cactus begins our tune, inviting us to sing along. The "She" in question is a pint-sized cowgirl whose legend grows with the song.
We start normally enough, but when we find out that the six white horses she'll be driving are named "Misty, Moonbeam, Milkshake, Stardust, Silvermane, and Snowflake," we find ourselves riding off the beaten path into hilariously imaginative scenarios involving jelly-juggling and rooftop-dancing.
Troy Billings is about to kill himself. At 296 pounds, he's tired of being a joke. Every aspect of his life, the way he looks, moves, even the way he breathes, has become a punchline for his peers. If Troy had his way, Fat Kid Rules the World would be a pretty short read. Thank goodness Curt MacCrea enters the picture.
Like a lost puppy, the moon follows a family home one night. Soon an entire town is affected by the celestial visitor. They all have just received their first Moonday.
At first, it is very exciting. When the moon shrinks enough to fit in the backyard, our protagonist hops onto it and explores. But things grow peculiar. Morning never arrives and everyone is feeling extra sleepy. Soon the backyard is flooded with a high tide and howling dogs!
An unseen beast trumpets mightily. There is a slight pause, then the drums approach, rolling across the sonic landscape. Picaresque, The Decemberists' densely-textured folk pop album, begins.
Hyperbole and a Half explores artist Allie Brosh's almighty id with a kind of courageousness usually reserved for walking on hot coals or taunting killer bees. Based on the popular blog of the same name, Brosh's book features anecdotes and musings from her life, complemented by pictures drawn with a basic paint program.
Sheer audacity is one of Brosh's best assets. Her stories are bold examinations of what she fears most in life and how these anxieties form her identity.
If King Dork's cover seems vaguely familiar, that's because it looks like a defaced copy of The Catcher in the Rye. The title and its author Frank Portman are scrawled in ballpoint pen with a blatant disregard for the granddaddy of all coming-of-age novels.
This sums up how Tom Henderson feels about Salinger's classic novel. He notices a Catcher cult amongst most adults, who sing the praises of the book changing their lives. Tom thinks all of this is, to borrow a phrase from Holden Caulfield, "phony," but a particular copy of the book is about to turn his world upside down and inside out.